The past resold, with a story attached.
The Hammond A-100 is a console tonewheel organ introduced in 1959. It is effectively a self-contained version of the B-3 and C-3, with an internal power amplifier and speakers, and it was built in many chassis styles identified by the last two digits of the model number.
The 59DC was one of the first two reissues of Danelectro's Shorthorn line, sold between 1998 and 2001 with two pickups. The Shorthorn design it reissues is a dual cutaway hollow body of Masonite and poplar, with a Coke bottle style headstock and a seal shaped pickguard carrying stacked tone and volume knobs.
The ShredMaster is the high-gain pedal in the trio Marshall released in 1991 with the Bluesbreaker and Drivemaster. It is a conventional distortion pedal with Gain, Bass, Contour, Treble and Volume controls in a black, wedge-shaped metal case. Poor sales ended the run within a few years, and Marshall reissued it in 2023.
The Roland CR-68 is a non-programmable mono analog rhythm machine from the late 1970s. It shares the CR-78’s sound set and 54 preset rhythms but removes all user programming. Its controls — tempo, level, accent, balance — shape playback in real time. Fills trigger automatically or manually. It has no MIDI, no keyboard, no memory. Its sounds are now more often sampled than played live. Add N To (X) used it.
The Ibanez MC924 is a 4-string bass guitar from the Musician series, introduced in 1978. It is heavy, sustain-rich, and exceptionally durable — one unit stayed mint for over 25 years. Its active three-band EQ and responsive pickups give broad tonal control. But its weight demands strap-locks live, and age brings failing switches and jacks. It is not lightweight. It is not low-maintenance. It is built to endure.
The Boss PH-1 is a compact phaser pedal released by Boss in 1977 as one of its first three pedals. It emulates Leslie speaker phasing with greater versatility. It has only two controls: Rate (speed) and Depth (dry/wet mix). Production ran from 1977 to 1981.
The Revox A77 is an analog multitrack tape recorder. Users deploy it to replay and digitise vintage tape — especially 1980s band mixes. It is robust and simple to operate, more so than the B77 or G36. But it trades mechanical precision and low-noise playback for that durability. It does not record multitrack. It does not edit. It plays — and keeps playing.
The Studer A807 is an analog multitrack recorder. No technical specifications exist for it. That absence defines it.
The Farfisa Compact Duo MK1 is a portable electronic organ with drawbars and vibrato. It delivers a distinctive, aggressive organ tone. No technical specifications are available. Its design prioritises immediacy over documentation or expandability.
The Yamaha CS-30 is a monophonic analog subtractive synthesizer introduced in 1977. It has two VCOs, two resonant VCFs, two VCAs, three envelopes, a ring modulator, external audio triggering and an 8-step sequencer. It has a 44-key keyboard. It lacks onboard effects, memory and MIDI. It is used by 808 State.
The Yamaha CS-5 is a 1978 monophonic analog synth with one oscillator, a multi-mode 12 dB/Oct filter, and an LFO with sample-and-hold. It has no patch storage, no MIDI, no velocity sensitivity. It is built for immediacy — not recall.
The Fostex D-80 is a dynamic, cardioid microphone built for singing and trumpet. It handles high sound pressure like an SM58 — but delivers a 'crunchy', 1980s-evoking sound the user found in an attic. It offers no features beyond its fixed polar pattern and raw output. It belongs only where that specific texture is the goal.
The Korg Delta is a 1979 analog semi-polyphonic string machine and synthesizer. It was built as a slimmed-down, budget alternative to the Korg Trident. It splits into two independent sections—Strings and Synth—with dedicated outputs. The String section uses two pitch sliders and tone/ADSR controls. The Synth section uses four pitch sliders, white noise, a multimode 24dB/oct filter, and full ADSR. A joystick provides pitch bend and modulation. It has CV/gate connectivity but no memory, no MIDI, and no presets. Its 'unlimited polyphony' is inaccurate: pressing multiple keys does not apply independent envelopes to each note. It delivers high-quality layered string-and-synth sounds despite limited range. Its build is robust, but its keyboard is fragile and its filter is bland.
The Fender Dual Showman Reverb is a 100-watt all-tube head built for volume, clarity, and built-in modulation. Two channels—clean and reverb/vibrato—each have full EQ and a Bright switch. No master volume. No channel switching on the fly. Heavy. Loud. Uncompromising.
The Mesa Boogie Mark I Combo is a late-1970s tube guitar amplifier built for players who wanted controlled, responsive overdrive from a compact combo. It was not originally exported, later adapted for 220 V use in France.
The Oberheim Matrix-6 is a discontinued analog synthesizer made by Oberheim. No technical details, availability or usage context are given in the source. It exists only as a named category and manufacturer claim.
The Korg MS-50 is a 1978 keyboard-less analog expander module. It has one VCO, two VCFs (highpass and lowpass), two ADSRs, an LFO, pink and white noise, ring modulator, voltmeter, and sample & hold. It uses Hz/V CV/Gate control and was designed to complement the SQ-10 sequencer.
The Otari MX-5050 is an 8-track analog multitrack cassette recorder introduced in 1987. It records at 3.75 ips. Its recording head is superior to that of the Otari 488 and 488 mkII. dbx Type II noise reduction applies separately to tracks 1–4 and 5–8. A pitch/speed wheel allows ±15% variation. Its digitally controlled transport enables automated punch-in between memory points. It uses direct-drive mechanics — no capstan belt required. It records all eight tracks simultaneously, unlike the 488 models.
The Prophet 3000 is a sampler made by Sequential Circuits. That is all the source material says.
The Korg PS-3100 is a rare (600 units), 30kg, 48-voice analog synthesizer from 1977. It uses 12 divide-down VCOs to drive 48 independent voice circuits — one VCO, VCF, VCA and EG per key. Its warm LPF and 3-band resonator enable rich formant and phase effects. LFO1 reaches audio rate and delivers AM up to ring modulation. One EG is polyphonic; the other is universal and paraphonic. Twelve intonation scaling controls allow non-equal-tempered tuning. It has no patch memory.
The Korg PS-3200 is the final model in Korg's PS series. It integrates two PS-3100 units into a single chassis. It provides 16 memory locations that can be individually addressed and recalled. It was regarded as remarkable in its era due to having two oscillators per key and 48-note polyphony. Each voltage-controlled oscillator module includes a dedicated voltage-controlled filter and low-frequency oscillator. Its patching and signal routing capabilities were comparatively restricted versus other modular systems. Its envelope generator design was constrained. It was considered sonically rich for its era, and its 16-patch memory was highly valued.
The Gibson RD Artist is a 1978 solid-body electric guitar with active Moog electronics, all-maple construction, a 25.5-inch scale, two humbuckers, and no vibrato. Its controls enable compressor (bridge), expander (neck), bright mode, or neutral, plus bass/treble boost/cut. Stock humbuckers are weak for rock. It was built for precise, processed tone — not vintage warmth or expressive pitch play.
The Rhodes Mark II Stage Piano is a Fender-built electric piano in the Rhodes series. No technical specifications are available. Its value is $900. That is all that is known.
The KR-55 is a fixed-rhythm drum machine from 1979. It plays 48 preset patterns across genres including Waltz, Samba, Rhumba, Bossa Nova, Tango, Slow Rock, Swing, and Rock. It uses sample-based synthesis for 12 drum tones. It has individual level controls per drum sound per pattern. A dedicated swing knob alters groove feel. A footswitch jack enables external Start/Stop and Intro/Fill control. It has no keyboard, no pattern editing, no MIDI, no sync outputs beyond footswitch, and no individual drum outputs.
The Akai S1100 is a sampler. Its name appears in alternate forms: 's1100' and 's 1100'. No technical specifications are available. Nothing else is confirmed.
The Yamaha SG2000 is an SG-shaped solid-body electric guitar produced from 1976 to 1988. It features two splittable humbuckers, a three-position pickup selector, push/pull volume controls for coil-splitting, and 22 frets. It is no longer sold and was succeeded by a 2007 reissue.
The Roland SH-2 is a monophonic analog synthesizer introduced in 1978. It has two detunable VCOs, a resonant self-oscillating 24dB lowpass filter, one envelope, one LFO, and a 3-octave keyboard. Its one-button-one-function interface is simple and effective. It produces fat, aggressive, authentic vintage analog tones—especially when the oscillators are detuned. It shares sonic traits with the SH-101 but adds detunability and thickness. It is flexible enough for punchy basses, leads and squelchy sounds. Every sound—including drums—has been made on it in at least one documented case. It is simple, programmable, and sonically aligned with Roland’s high-end SH series.
The SH-2000 is a 1973 monophonic analog preset synthesizer. It is Roland’s second synth and a simplified version of the SH-1000. It was built for home organists needing expressive, portable tone colour without synthesis theory.
The Roland SH-5 is a monophonic analog synthesizer introduced in 1976. It has two VCOs, two LFOs, two multi-mode filters, two VCAs, a 5-source mixer, stereo panning, portamento and ring modulation. It is no longer manufactured. No technical specifications are available.
The Danelectro Silvertone 1448 is a 1963 masonite-bodied guitar built by Danelectro, designed by Nat Daniels, and sold by Sears as part of an 'Amp in Case' set. It has a rosewood fretboard, shorter scale, six-in-line tuners, wooden-saddle bridge, and typically one neck-position lipstick pickup. It does not intonate or stay in tune for very long.
The Yamaha YC-45D is a 1976–1980 hybrid organ-synthesizer. It combines drawbar organ, transistor organ, piano, harpsichord, distortion and a 3-octave ribbon synth. Its lateral per-note vibrato/bend is unmatched for its time. Its preset system is rudimentary. Its ribbon lacks visual pitch reference. Its emulations are shallow. It belongs in a room where articulation matters more than fidelity.
The Epiphone Crestwood is a solid-body electric guitar introduced in 1958. It has no Gibson equivalent. It evolved through named variants—Crestwood Custom, Crestwood DeLuxe—before ending production in 1970. Its construction is mahogany. Its pickups are New Yorker. Its headstock changed from three-on-a-side to six-on-a-side. Its pickguard changed design and lost the Epiphone logo. Its fretboard markers changed from dots to ovals. Its plating changed from gold to nickel. Its upper horn lengthened slightly by 1963. The Crestwood DeLuxe added a third pickup and an ebony fretboard with block inlays.
The Yamaha CS-15 is a monophonic analog synthesizer produced by Yamaha from 1979 to 1982. It features two voltage-controlled oscillators, two 12 dB/Oct multi-mode voltage-controlled filters (low-pass, high-pass or band-pass), two ADSR envelopes and a low-frequency oscillator. It also features white noise and an external-in for processing other sounds. The CS-15 offers great flexibility with various routing possibilities to the filters and envelopes. You can, for example, route VCO 1 to both VCFs and the VCFs to any of the envelopes positive or negative voltage. It's actually a duophonic / bitimbral synthesizer but you have to connect it to two separate CV/Gate controls (Hz/V like Korg synthesizers not V/Oct) to play the extra voice. In the CS series, the CS-5, CS-10, CS-30 and CS-30L were similar in sound, structure and design. The CS-5 and CS-10 had a single oscillator and one multimode filter, whereas the CS-15, CS-30 and CS-30L each had two oscillators that could be routed in various ways through two multimode filters.
The Fender Harvard is a vacuum tube guitar amplifier made by Fender from 1955 to 1963. It appeared only in a tweed-covered narrow-panel cabinet. It had no predecessor or direct descendant. It served as a mid-tier option between the Champ/Princeton and Deluxe models.
The Korg MS-10 is a monophonic, 32-key analogue synthesizer released in 1978. It has one VCO (triangle, sawtooth, pulse, white noise), one 12dB/octave low-pass VCF, one LFO with pulse and sloped outputs, and one envelope generator with Hold, Attack, Decay, Sustain, and Release. Its normalized patch points allow flexible modulation without cables — but it offers no second envelope, no polyphony, no effects, and no key transpose.
The Roland RS-202 is a 1976 string synthesizer that uses sawtooth oscillators and frequency division for full polyphony. Its paraphonic architecture routes all notes through one envelope shaper—but assigns per-note articulation to prevent attack re-triggering. Split-keyboard controls allow independent top/bottom sounds. An analog chorus with LFO-modulated delay lines creates ensemble realism. It does not offer true polyphonic envelopes, per-voice filters, or digital memory.
The Roland SH-1000 is a compact 1973 synthesizer — the first made in Japan and the first by Roland. It resembles a home organ, with 10 preset voices and a manually editable section. It has no user program memory. Its effects include white noise, portamento, octave transposition, two LFOs and a random note generator. It simulates multiple oscillators using 8 sub-osc keys; a ninth key triggers white or pink noise.
The ARP String Ensemble is a fixed-architecture string machine. Twelve tone generators feed 49 keys via divide-down. Its triple BBD chorus — driven by two LFOs — defines the sound. No envelopes. No filters. No expression. Just one lush, unchanging texture.
The Korg VC-10 is a 1978 analog vocoder with a built-in 32-note keyboard, 20-band analysis and synthesis, and support for both internal and external signal modulation — including voice, guitar, and pitch control inputs — making it a self-contained, polyphonic vocoding instrument.
The Roland VP-330 is a 1979 paraphonic vocoder and string machine. It combines ten-band vocoding, electronic strings, and four synthetic choir sounds using seven shared bandpass filters. Its BBD ensemble effect thickens all three sections. Touring musicians adopted it as a lighter, more robust alternative to the Mellotron — despite its choir and strings being less realistic. It offers no patch memory, no MIDI, and no polyphonic independence.
No verified source links the term 'Country Club' to any specific Gretsch instrument feature, specification, or design rationale beyond its model name and mid-1950s introduction alongside the 6120 Nashville, 6128 Duo Jet, and White Falcon. No claims about its construction, electronics, finish, or player experience are supported by the provided material. All descriptive statements must therefore be omitted or flagged as unsupported. The only factual anchors are its name, its status as a Gretsch guitar model, and its release period.
The E-mu Modular System is an analog modular synthesizer introduced in 1972 by E-mu Systems as a competitor to ARP and Moog modular synthesizers. It featured a microprocessor-controlled polyphonic keyboard and sequencer — claimed by E-mu to be the first of its kind — and allowed sound creation via patch cord routing among user-specified modules. Users could store configurations using 'firm-wire' patches, and the system was capable of producing any popular synthesizer sound of the era, noted for a 'cleaner' sonic character than competitors.
The Gretsch Tennessean is a hollow-body electric guitar built for vintage tone and playability. It delivers a highly resonant, cutting voice shaped by its construction, pickups, and controls. It excels in clean and mid-gain contexts but struggles with feedback and high-gain stability. Its design prioritises acoustic resonance and vibrato expression over modern high-output versatility.
The ARP Quadra is a 61-key analog synthesizer introduced in 1978. It was built as a paraphonic instrument using pre-existing ARP modules. It features four sound sections (Bass, String, Poly Synth, Lead), limited memory that recalls only on/off states and intervals—not slider positions—and relies on manual real-time adjustment. Its architecture uses divide-down circuits for the string section and shares controls like the hollow wave button across sections. It is not truly polyphonic and includes an arpeggiator specific to the lead section.
The Gretsch 6128 Duo Jet is a chambered mahogany electric guitar introduced in 1953. It features two pickups, a body-mounted pickup selector, a cutaway-mounted master volume, and a headstock-accessible truss rod. Bo Diddley played it in the mid-1950s.
The Gibson EB-2 is a purpose-built, no-compromise semi-hollow bass: warm, resonant, limited. Its design gives you one voice — rich and rounded — and refuses all others.
The Gibson ES-125 is a purpose-built, no-compromise entry into hollow-body electric guitar playing. It gives one voice, one circuit, and one physical response—nothing more, nothing less.
The ES-295 is a hollow body guitar introduced in May 1952. It shares dimensions with the ES-175. It was conceived as a full-sized hollowbody archtop intended to complement the solidbody Les Paul. Its original price was $295. Les Paul claimed involvement in its creation. The first ES-295s came outfitted with one pickup. By 1953 the guitar was shipping with two pickups. It was discontinued in 1959 and reissued multiple times. Scotty Moore used it.
The ES-330 is a thinline hollow-body electric guitar introduced in 1959. It uses P-90 pickups and has no center block. It is prone to feedback. It was discontinued in 1972.
The Gibson Grabber is a bass guitar introduced in 1973. It features a bolt-on 34½-inch neck, an adjustable pickup that slides to simulate neck or bridge positions, brighter output than traditional Gibson humbuckers, simple controls (one volume, one tone), and a removable bridge cover. Its body changed from maple to alder in 1975 — the year it peaked in sales at 2,637 units, largely due to Gene Simmons’s use with Kiss. It was discontinued in 1982, with limited production until 1984.
The Gretsch G6131 is a double-cutaway electric guitar with gold hardware, two Filtertron humbuckers, and a Burns vibrato — built for clarity, cut, and expressive tremolo. It excels in clean-to-moderate-gain contexts where note definition matters more than saturation or sustain. It falls short in high-gain stability, low-end tightness, and tuning retention under heavy vibrato use. Its production spanned 1962–1971, ending when Gretsch reverted to single-cut models.
The Gibson Marauder is a 1975–1979 bolt-on electric guitar designed to compete with Fender’s single-coil models. It features a custom Bill Lawrence humbucker in the neck and an angled blade-style single coil at the bridge — both sealed in clear epoxy. Its construction includes a Les Paul–shaped contoured single-cutaway body and bolt-on maple neck. Only 7,111 units were made before discontinuation in 1979 (though some were made until 1982). Endorsed by Ace Frehley and Paul Stanley, it failed to gain traction against Fender due to its compromised playability and lack of tonal flexibility.
The SP-808 is a self-contained sampling workstation built for immediacy—not convenience. Its limits are absolute: four stereo voices, Zip-only storage, no modern connectivity. Its strength is integration: sampler, synth, and sequencer in one tactile unit, holding over 1,000 samples internally while demanding physical media discipline.
A no-compromise bass that sacrifices versatility for presence. It does one thing well — deliver tight, articulate low end with zero detours — and refuses to do anything else.
The Musicmaster is a no-frills, scaled-down electric guitar built for access—not expression. Its design sacrifices tonal depth and dynamic response for ease of use and production efficiency. It belongs in a practice room, not a stage rig.
The OB-X was Oberheim’s first OB-series polyphonic analog subtractive synthesizer. Introduced in June 1979 to compete with the Prophet-5, it replaced modular SEM-based systems with a unified design built around interchangeable voice cards. It offered 4-, 6-, or 8-voice configurations, 32 user-programmable presets, and automated tuning via a Z-80 microprocessor. Its architecture prioritised stability and integration over flexibility or expressivity.
The Fender Super Reverb is a loud, physical, all-tube guitar amplifier with built-in spring reverb and tremolo — made from 1963 to 1982. Its blackface and silverface variants differ in circuit design, not just looks. It demands space and volume. It rewards touch. It does not apologise.
The Dallas Rangemaster Treble Booster is a 1965 desktop effects unit made for guitarists in the 1960s. Its function was two-fold: to increase the signal strength of the guitar going into the amplifier, and to increase tones at the high end of the spectrum (a treble booster). The need for a treble booster arose in the mid-1960s, as British tube amplifiers such as the Vox AC30 or Marshall JTM45 tended to produce a slightly dark, muddy sound when overdriven, particularly when used with humbucking pickups. A pre-amplifier that also boosted treble proved a solution. Additionally, the vintage components in the Rangemaster circuitry could add characteristic distortion and overtones to color the guitar sound, much in the way of the more modern overdrive pedals. The Rangemaster Treble Booster was first made in the 1965 by London company Dallas Musical Ltd., incorporated in 1959. The unit is simple and consists of a grey folded metal casing with an on/off switch, a potentiometer controlling the boost setting, and in- and output jacks. It was designed to sit on top of an amplifier rather than on the floor, where most effects units live.
The U 47 is a historically significant but operationally constrained microphone. Its innovation lies solely in being the first switchable-pattern condenser — a functional milestone, not a sonic benchmark. It demands specialist maintenance, offers no modern conveniences, and has no documented sonic signature beyond its era-specific implementation. It belongs in a museum or a dedicated vintage studio — not a general-purpose rig.
The Gretsch White Falcon is an electric hollow-body guitar introduced in 1954 as a non-commercial showpiece for the NAMM Convention. It was conceived by Jimmie Webster as an improvement over the Gibson Super 400. Strong demand led to rushed production beginning in 1955 under model number 6136. Gretsch marketed it as 'the finest guitar we know how to make – and what a beauty!' and priced it at $600 — second only to Gibson's Super 400CESN. Its finish design drew from Gretsch drum finishes and American car aesthetics of the era.